For the casual listener, there are two impediments to enjoying this disc. First, the works are transcriptions of orchestral works for chamber ensembles, and second, both transcriptions are played on a light-toned fortepiano and cat-gutted stringed instruments. But for the dedicated listener who knows and loves Beethoven's Symphony No. 2 and Piano Concerto No. 4 and who accepts and enjoys period instruments, this disc will be pure enjoyment.
On this recording, Steven Isserlis, together with his regular collaborator, fortepianist Robert Levin, presents a magisterial compendium of Beethoven's complete works for cello and piano, including Beethoven's arrangement of his Horn Sonata. The use of the fortepiano opens up a wealth of sonic possibilities for these works.
In this new chamber recording, Steven Isserlis together with his regular collaborator, fortepianist Robert Levin, presents a magisterial and long-awaited compendium of Beethoven’s complete works for cello and piano, including Beethoven’s arrangement of his Op 17 Horn Sonata. The use of the fortepiano opens up a wealth of sonic possibilities for these works.
The viola was Hindemith's instrument (though he could play almost any), and he wrote some of his most expressive chamber music for it. This two-disc set includes all four of Hindemith's sonatas for solo violin and the three for viola and piano. I prefer the wildness of Hindemith's earlier music to the sometimes arid calm of his later music, so listeners like myself who like Hindemith can have a feast here as most of these are early works. They are played with energy and passion by an outstanding violist and a fine pianist.
Fans of either cellist Mstislav Rostropovich or pianist Sviatoslav Richter will have to hear the performances on this two-disc Doremi set. It contains the four pieces they performed in Moscow on March 1, 1950 Brahms' Sonata No. 1 and Beethoven's sonatas No. 3 and No. 4, plus the world premiere of Prokofiev's sonata and two of the pieces they played at the Aldeburgh Festival on June 20, 1964 Grieg's sonata as well as another Brahms' Sonata No. 1.
Pete's first solo album for Gramavision was a tribute to Gil Evans, with whom Pete worked for 15 years. Much of the album is performed by an 8-piece all-star band - all alumni of the freewheeling Gil Evans Monday Night Orchestra.